ENVELOPOLOGy PART 1 By Scott Creasey
ENVELOPOLOGY
Written Edited and Produced by Scott Creasey
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Copyright © 2012, Scott Creasey. All rights, including all commercial manufacturing, marketing and distribution rights for the material contained within this publication are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means: electronic, electrostatic, magnetic tape, mechanical, photocopying, recording or otherwise, without permission in writing from the Author.
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EN-VE-LOPE A flat paper container, as for a letter or thin package, usually having a gummed flap or other means of closure.
OL-O-GY Informal a science or other branch of knowledge
ENVELOPOLOGY The Science (knowledge) of envelopes
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The day I took the last photograph for this work I learned that Alan Shaxon had passed away.
As most of the routines in this publication were inspired by a gimmick invented by Alan I felt it only right to dedicate this work to him.
ALAN SHAXON A Talent - An Inspiration - A Gentleman
R.I.P
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CONTENTS
Introduction
The Sideway Shaxon Pre-show Q & A
21st Century Beast with Two Backs Close Up Dupe
The Invisible Hole Peeking through Mr Shaxon’s window
Bonus The Shaxonless Flap Envelope Otis Manning & Ghost of a Chance Revisited
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INTRODUCTION: In 2008 I wrote a small booklet of effects I had come up with over the years using a number of gaffed envelopes. I was going to make the booklet available via my website but life got in the way and it was only ever distributed at my lectures. I didn’t demonstrate any of the effects during the lectures themselves and as a result didn’t sell a vast number so eventually shelved the idea. However since I mentioned the original Envelopology book in my last release ‘MY Q & A’ available through Lybrary.com, I have received so many emails enquiring about it, I thought I’d better publish it ASAP. That of course raised a few problems, because after re-reading the book I realised, as with most things in life that the handlings, gaffs and the number of effects themselves have evolved and expanded over the years and I needed to start again from scratch. Due to performance schedules I found I wasn’t able to re-write the whole book in one go and decided to split it into two parts. What follows is the first part in the two part series of booklets that resulted from that re-write. Welcome to part one of:
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The Sideways Shaxon The first time I met Alan Shaxon was in 1976 when I was twelve just after I had watched him perform his cabaret act as part of a Leicester Magic Circle showcase at the Haymarket theatre in Leicester, however although I have watched him perform many times since that day I have rarely had the opportunity to speak to him, so it is very unlikely he had any idea what a big influence one very small invention of his has had on many of my mentalsim routines, unfortunately it is now too late for me to thank him in person. I was introduced to the Shaxon flap envelope over ten years after that first meeting by Roy Johnson during one of his lectures for Leicester Magic Circle and I have been using, playing and altering it ever since. The original Shaxon flap envelope has been widely described in various magic and mentalism publications over the years and Roy Johnsons work on the subject is worth taking a look at because it includes some interesting modifications and handlings. The original utilized small brown manila envelopes with a top opening flap often known as seed or wage envelopes and this is the main alteration I have made to the Shaxon flap envelope. I remember my father receiving his wages in these small brown envelopes and when I joined the Royal Navy in 1981, for the first year I was also paid weekly in cash, the money being folded and sealed in a small brown wage envelope with my name and I.D. number written on the front. The days of having your wages paid in cash in an envelope however are largely a thing of the past and in my opinion, apart from when used by a magician, I feel the majority of the general public don’t often see and therefore are no longer familiar with, this style of small envelope. To my mind as a full time psychic entertainer as soon as a prop seems unfamiliar to my audience it no longer remains invisible and in turn can draw un-necessary attention to itself. These days the public are much more familiar with what are known as invitation envelopes. These look like a small (playing cards size) version of a standard letter envelope with a triangle gummed flap and come in a variety of colours (Photo No:1).
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Personally I prefer the black ones which are completely opaque and perfect for use as ‘The Sideway Shaxon’. Photo No: 1 Black invitation envelopes. Available from most stationary stores or online these envelopes come in a variety of colours and are approximately the size of a playing card. Firstly I will describe how to manufacture the sideways Shaxon and will give you a couple of effects I use it for and then later I’ll describe the window version and the handling associated with that. The following photographs should make the manufacturing procedure clear and all you will need is a pair of scissors.
Photo No: 2 Take one envelope and a pair scissors and holding the flap closed cut round it to create a second flap the same size as the original. The un-gummed extra flap is your insert.
Discard the cut away envelope.
Photo No: 3 Trim the un-gummed insert so that when you fold it closed again only half of the gummed area of the original flap is visible. Also square off the end of the ungummed insert. 7
Photo No: 4 Take a second envelope and wet the gummed flap, then stick the back of your gummed insert to the inside of this flap making sure it is perfectly aligned. Allow the gummed flap to dry completely. This is your Sideways Shaxon.
Photo No: 5 Take another envelope and tuck the flap inside, then insert the extra flap of your Sideways Shaxon into the mouth of this envelope and square the two together.
Place this double envelope on top of a stack of 5 – 10 un-gaffed envelopes with the flaps all orientated in the same direction and you are ready to go. To use the Sideways Shaxon for a basic steal/switch, hold the stack of envelopes in your left hand as shown in Photo No 6, with the flap of the top envelope (actually the second one down in the stack) open and orientated to the right, then hold the stack out to your volunteer as you ask them to slide their billet, playing card or business card etc. writing side down into the top envelope.
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Photo No: 6 Envelope held by the fingers and thumb of the left hand while the volunteer inserts a business card with the writing side down, into the top envelope
One of the advantages of the Sideways Shaxon is that if you grip the envelopes tightly with the fingers and thumb of the left hand while offering them to a volunteer as in shown in Photo No: 6, even if he volunteer grabs the open flap in order to facilitate the insertion of the business card, they will be unable to accidentally pull the envelope free of the stack which would dislodge and expose the Shaxon Flap. Once the card has been inserted into the envelope take the open flap in your right fingers and lift the stack to your lips, then using the fingers of the right hand as a support, moisten the gummed area of the flap with your tongue. As soon as the flap is wet enough, pull it upwards with the right hand which will pull the second envelope free of the stack and leave the volunteer’s card in the top envelope facing your body. At the same time let the remaining stack held by the left fingers and thumb drop into the palm of your left hand. This move results in what was the top envelope which contains the volunteer’s card, lying on the bottom of the stack with the card hidden by the back of the left hand. Photo’s No: 7 and 8 should make this clear. Photo No: 7 Stack lifted to the lips and gummed side of the open flap moistened with the tongue, while supported with the right hand.
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Photo No: 8 Second envelope pulled free of the stack by the open and moistened flap as the remaining stack falls flat onto the palm of the left hand. This conceals the volunteer’s card which is now in the envelope on the bottom of the stack. All that remains is to close and seal the flap of the removed envelope and hand it back to the volunteer. Of course this envelope should contain a duplicate of whatever you used for the volunteer to write or draw on. So that could be a folded index card, a business card or even a playing card. If you now pocket the stack you are clean. Using invitation envelopes with the triangle flap has a number of other advantages over the older manila style wage envelopes, the first being that it is easier for a spectator to insert a playing card, business card or folded billet etc. into the envelope without fumbling and they are less likely to dislodge the Shaxon flap from the mouth of the top envelope, which is something I have found occurs quite often when using the wage style envelopes. Secondly, whatever the volunteer slides into the envelope stays in view until the stack is lifted to your lips. This is a small psychological point but it is these kinds of details which in my mind define convincing mentalism. Finally because the flap of the envelope containing the volunteer’s card is tucked in, the large open V shape which would normally be covered by the flap, allows easy access and withdrawal of the contents even when the stack is in a pocket. So that is the basic steal/switch utilising the Sideways Shaxon envelope. The next routine uses this standard steal in order to perform, what I consider to be worth the price of this book, but then of course I am bias.
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PRE-SHOW Q & A Effect: Prior to the show, the performer circulates among the audience, distributes blank index cards with pencils and asks them write details about themselves such as names, D.O.B, and any other personal information or questions they would like the performer to reveal/answer using his psychic intuition. Once done they are instructed to fold the cards in half with the writing on the inside, seal them in small opaque black envelopes supplied by the performer and deposit them in a large clear bowl, champagne bucket or other receptacle at the front of the performing area, where they remain in full view of the audience until the performance begins. After a number of preliminary effects used to establish the performers credentials, he approaches the receptacle reaches in with an empty hand, removes an envelope and holds it above his head. After a few seconds of concentration, he points to a person at one of the tables and asks them to stand as he feels the envelope he is holding may belong to them, he goes on to reveal their name and answer the personal question or reveal the information still sealed in the envelope. This envelope is dropped to the floor or pocketed unopened as the performer removes another envelope and repeats the process with a second person. Every now and then the performer may open an envelope after he has divined its contents in order to elaborate on the information provided. This process is repeated maybe 5 or 6 times until one final envelope is removed and held in the air. The performer calls out the name of an audience member who is requested to stand. This volunteer is asked to confirm they drew a picture at which point the performer takes up a large pad and marker pen, after a couple of seconds he draws something on the pad, asks the standing audience member to describe what he/she drew on the card. When the performers’ drawing is revealed, it matches the drawing described by the audience member. Fin
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Method: Multiple Shaxon flap envelopes. The method that follows can be adapted for large or small audiences, cabaret halls, restaurant work or a formal stage environment but I’ll describe the working here for a banquet setting and I am sorry ladies, I will be explaining the method as someone who wears a suit during my shows which means I use my jacket pockets a lot, however the routine can be adapted according to your attire. Let’s assume you are working a banquet hall with ten tables with and five people at each table. Prepare 5 or 6 Shaxon flap envelopes and stack them one on top of the other all with their flaps orientated the same way. Take another 50 un-gaffed envelopes and split them into two piles of 25. Place one pile with all the flaps orientated in the same direction in your right jacket pocket, these are basically to replenish the other stack as you hand out envelopes, but they also give you a reason to keep reaching into your pockets which as you will see is important. Take the remaining 25 un-gaffed envelopes and stack them address side up (flap side down) with the flaps orientated to the left, now place your 5 or 6 Shaxon flap envelopes on top of this stack with the flaps uppermost and oriented to the right. Basically this is a double sided stack of envelopes and appears the same from each side snap an elastic band round this stack and drop it in your left jacket pocket. The other requirements are of course index cards and pencils. Before the performance begins approach each table in turn and distribute pencils and index cards to each person, you can of course ask them to write any information you wish that suits your style, but I will explain what I ask for and the reasons.
At the first table I instruct them to write their first name and second initial, their date of birth and then to write a bit of information about themselves that nobody else knows, then fold the card in half with the writing on the inside. I leave them with the pencils and cards and move onto the next table.
At the second table the procedure is repeated but this time I don’t ask for their date of birth.
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At the third table they once again write their names, D.O.B but this time I ask them to write the names of pets they had as children, if they didn’t have a pet, I ask them to make one up.
At the fourth and fifth tables the same procedure is repeated as for table three but once again I don’t ask for their date of birth.
At the sixth table I ask for their name, D.O.B. and this time to draw a simple picture.
Table seven are given the same instructions as table six but once again they don’t write their D.O.B.
At table eight everybody writes their name, D.O.B but this time they are told to write the name of their favourite film and actor/actress.
Table nine repeats this procedure without the D.O.B.
And finally table ten writes their name, D.O.B and the city they were born in.
This may seem complicated but if you read the procedure again you will see that tables 1,3,6,8 and 10 all write their dates of birth and different pieces of information and you will be stealing one card from each of these tables using the Shaxon flap envelopes. This is only an example of course and you can decide for yourself which tables provide what information and adapt the procedure to suit the situation. Because you know which table wrote which information and you steal once card from each, you will not only know which people to speak to during the performance but also their information, names and D.O.B and because you asked for specific information, you won’t get unusable information for the performance. I suggest you read that again so that it is clear in your mind because you will need to adapt the procedure to fit your working environment. Basically you choose which tables provide what information and you steal one card from one person (known to you) from each of those tables.
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The Steal: By the time you have distributed cards and pencils and given the instructions to the last table, the first table should have finished writing out the information and have folded their cards in half. You now approach the first table and remove the stack of banded envelopes from your left hand jacket pocket; the Shaxon Flap stack should be uppermost with the flaps orientated to the right. After removing the elastic band, instruct each person to seal their cards into envelopes and to demonstrate how, you ask one person at the table (remember who they are) to slide their folded card into the top gaffed envelope. Now follow the procedure outlined previously in photographs 6, 7 and 8 to switch the folded card out. If you follow the steal procedure properly, the stack of envelopes held in your left hand will now have the un-gaffed envelopes uppermost and everything appears the same. Once the first person’s envelope is sealed and back in their hands, deal off an un-gaffed envelope to each of the remaining people at the table and instruct them to seal their cards into the envelopes and drop them in the bowl near the front of the performing area. That is the first card stolen. Now approach table two and simply deal un-gaffed envelopes to each person, once again ask them to seal their cards in the envelopes and drop them in the bowl at the front. (No switch required here) As you approach table three however you place both hands into your jacket pockets. The left hand drops the stolen envelope and card from its stack into the pocket as the right hand removes three or four un-gaffed envelopes to replenish the stack. Both hands are removed at the same time and the right hand deposits its envelopes onto the un-gaffed side of the left hands stack, this is then turned over to bring the Shaxon Flap envelopes to the top and the same switch out/steal procedure is repeated at table three. You continue with the switch out and replenish procedure for all the tables, only switching out at your chosen tables, in this case 1, 3, 6, 8 and 10, and ditching the stolen envelopes/cards and replenishing the un-gaffed envelopes at tables 2, 4, 5, 7 and 9.
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So let’s recap. You have distributed index cards and pencils, each person has filled out their card and folded it in half. You have distributed envelopes at the tables and instructed each person to seal their cards into the envelopes and drop them in the bowl at the front of the performing area. While carrying out this procedure you have stolen 5 envelopes and cards which are now safely hidden in your left jacket pocket. Remember this has all been done before the show commences hence the title PreShow Q & A. All you need to do now is retire to your dressing room, the bathroom or your car in the car park, remove the stolen cards and memorise the information. If you can’t remember 5 different pieces of information and I agree it can be difficult under fire, then you can make yourself a crib. Here is what I do. I decide which order I want to answer the questions (leaving the drawing dupe until last) and re-write the info from the stolen cards in order on to another index card, this I place writing side up on top of a stack of cards drop a blank one on top and snap an elastic band round the lot. After the preliminary effects and as an introduction to the Q & A, I take the stack of index cards from my pocket, flash it both sides then as a recap of what has transpired pull the top blank card from under the elastic band as I explain: Each of you has had a blank card like this, you have written information about yourself on the card, folded it in half and sealed it in black envelope which you then dropped in this bowl. Of course removing the top card exposes the crib and I drop the whole stack with the crib uppermost onto the table behind the bowl containing the envelopes as I fold the removed card and finally drop it on the floor. So you are now set. In performance you reach into the bowl reading the info at the top of your crib and because you know which table and the person it came from, can speak to them directly and reveal the information they wrote. You appear to answer the question in 15
the envelope and then without opening it drop it to the floor and take a second from the bowl. Now I find that 4 questions and a drawing duplication is just about right, however if you wish to take it further at any stage you can simply open the envelope in your hand under the pretext of confirming your impressions, remember the written information which gives you a one ahead to reveal at your leisure. Ending with a drawing duplication in my opinion provides a logical and impressive climax to any Q & A routine.
*** In my first set of lecture notes ‘Escaping the Restraints of Reality’ released in 2005 I described two effects I simply called Close up Dupe and the Druids Eye, these effects were inspired by a Bazil Horowitz effect called ‘Ultimate Challenge Thought and Clairvoyance’ from his book Mental Magic of Bazil Horowitz volume 4 (1997). The original effect used three business cards, a flapless envelope and about 30 cards with new age inspirational words written on them. At the time I wanted to streamline the whole effect and as a co-editor of the Centre Tear magazine, I noticed an article/effect submitted by David Lang the owner and administrator of the online mentalism forum ‘The Mentalists Asylum’, his article introduced me to an alternative gaff to the flapless envelope used by Bazil Horowitz and the two different feeling and streamlined versions of the Horowitz effect were born. David called his gaffed envelope ‘The Creature with Two Backs’. Unfortunately the Centre Tear magazine is no more but David gave me permission to describe his creation in my lecture notes. The original creature with two backs was simply a switching envelope manufactured by gluing two small manila wage envelopes back to back including the flaps.
Over the years I took this concept and adapted it until it evolved into what I call the ‘21st Century Beast with Two backs’ this new adaptation uses the small invitation envelopes already described and allows you not only to switch/steal a drawing or 16
other info written on a business card and inserted face down into a totally opaque envelope, but also allows you to see/read the picture/information right under the noses of your audience.
I will describe the manufacturing process of this very versatile switching envelope and then describe the new handling for the first of the two effects entitled ‘Close up Dupe’ which appeared my original lecture notes.
21st Century Beast with Two Backs To manufacture the 21st century beast with two backs you will require two small invitation envelopes they must be completely opaque, I prefer black, an old playing card, a Stanley knife or scalpel, a ruler and a stick of glue The following photographs should make the procedure clear I have inserted cards into the envelopes to highlight the cut out areas.
Photo No 9: Insert the old playing card into one of the envelopes then using the ruler and scalpel cut a window in the bottom half of the address side
leaving a boarder of approximately 1cm also ensure that the top of the window is at least 1cm below the level of the opening of the envelope so that it can’t be seen from the flap side.
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The second envelope is treated slightly differently. This time the whole address side is cut out using the scalpel to create an even bigger window once again leaving a border of at least 1cm all the way round. Photo no 10 should make this clear.
Photo No 10: The second envelope with a large window cut out of the address side leaving a boarder of at least 1cm all the way round.
All that remains is to glue the envelopes together using the glue stick, photo no 11.
Photo No 11: Lay the envelope with the large cutout on the table with the cut-out (address side) uppermost and the flap orientated to the left. Run the glue stick all the way around the 1cm boarder ensuring the glue extends right to the edges of the envelope
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Photo No 12: Now take the second envelope with the cut-out (address side) down and the flap orientated to the right and lay it squarely on the glued envelope sticking the two address sides
together. Lay flat under a book to dry.
Once the glue is dry the 21st Century Beast with two Backs is ready to use. If you hold the gaff with the envelope that has the small window facing up and its flap orientated to the right and open, all appears as it should. Now insert a business card into the envelope blank side down close the flap and turn the whole gaff over side to side not end to end. Now if you open the flap of the new top envelope you will be staring at the blank side of the same card. So how do you use it? What follows is the basic switch after which I will explain the effect I call ‘Close up Dupe’. Take ten or so un-gaffed envelopes and insert a business card into each with the blank side facing up (so you can see the blank side when you open a flap) stack these with the flaps up and orientated to the right. Place the gaff on top of the whole stack (envelope with the small cut-out uppermost) and slip another business card blank side up into the gaffed envelope. You can now freely fan the envelopes and explain that each one contains a business card. Square the stack and open the flap of the gaff, remove the business card and hand it to a volunteer along with a pen and instruct them to draw or write something on the blank side of the card and ensure that you don’t see it.
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As they carry out your instructions, square the stack and obtain a little finger break under the second envelope down (the one below the gaff). When your volunteer has finished writing or drawing open the flap of the gaff (which helps to hide the little finger break) and ask them to slide the card writing side down into the top envelope. As soon as the card is in, close the flap and in one motion flip the top two envelopes (the gaff and second one down) over, sideways not end to end, as one on the top of the stack and thumb off the new top envelope (which contains a blank duplicate card) onto the table. Because the gaff is double sided everything seems as it should with an envelope flap side up on top of the stack. This was the basic use and the beauty of David Lang’s original beast with two backs.
However with the 21st Century Beast, you are at an advantage because if you open the envelope on the top of the stack and remove the card (which to all intents and purposes is blank), under the pretext of using it to write on, the volunteers drawing or writing will be staring you in the face.
CLOSE UP DUPE (updated from the original 2005 notes) Effect Sitting opposite a spectator, the performer proposes a test in both psychic transmission and reception. He takes from his pocket a stack of black envelopes each of which contains a blank business card. He removes a card from the top envelope and hands it to the volunteer along with a pencil and asks her to draw a simple design. It can be anything as long as it is quick, recognisable and clean (depending where you are working of course!)
Once the drawing is completed the volunteer slides it face down into the top envelope it was taken from, which is then placed on the table in full view.
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The performer explains that the volunteer will also get the chance to test her psychic ability and removes another blank business card from the next envelope in the stack. On this he draws a design of his own which he slides into the tabled envelope to join the first drawing.
Two more business cards are removed from their envelopes; one is handed to the volunteer with the pencil and she is asked to concentrate, try to read the performers mind and recreate his drawing.
Whatever the volunteer draws is then placed face down on the table, unseen. The performer then takes up the pencil and his card and, reading the volunteers mind, draws something which is also placed face down unseen. The tabled envelope is tipped up to let the original drawings fall to the table. The performer’s original is then turned face up along with the volunteers copy - they are either spot on or at least a close match. However, when the volunteers original and the performers copy are turned face up they are an exact match (every time). I hope this makes sense.
Method: If you have taken the time to manufacture ‘The 21st Century Beast with Two Backs’ then the method should be fairly obvious to you, quite simply your stack of envelopes and a psychological force.
On a business card, draw a circle inside a triangle and place this drawing side down into the second envelope of your stack under the gaffed envelope. Put the stack in your pocket with a pencil and you are ready to go.
As outlined in the effect you take the stack from your pocket remove the card from the gaff and hand it to your volunteer along with a pencil and ask her to do a simple drawing. While she does this you gain a little finger break under the gaff and next envelope in the stack.
When the volunteer has finished open the top (gaffed) envelope and ask her to slide the drawing in face down. Once it is in, close the flap and double turn over the top 21
two envelopes (gaff and the next one) which brings the second envelope containing your force drawing to the top address side up, thumb this onto the table which leaves everything looking as it should. UP DUPE PAGE 29 Now explain to the volunteer that you will also give her the opportunity to read your mind, remove another card from the envelope on the top of the stack which of course is theirs and which means their drawing is now staring you in the face. Keeping their picture facing you pretend to draw a circled inside a triangle on the card, which gives you ample time to remember their drawing.
If you use a long pencil they may unconsciously pencil read which goes a long way in your psychological force. Once you have finished slide your card into the tabled envelope below the one already there.
You are now clean, all that remains is for you to remove two more cards from their envelopes, psychologically force the circle in the triangle (see Banachek’s Psychological Subtleties) which they attempt to draw and then read their mind and re-create their drawing which of course you have already seen.
I leave the revelations up to you.
I find this goes down very well in an intimate group where you are trying to show that everyone has some psychic ability. In Envelopology 2 I will describe the updated version of ‘The Druids Eye’ which also appeared in the 2005 lecture notes ‘Escaping the Restraints of Reality’.
Enjoy.
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THE INVISIBLE HOLE
Using a window envelope in conjunction with a Shaxon Flap envelope is nothing new. However my Sideways Shaxon means that the audience see the interior of the envelope which appears normal and the card with and audience member’s information written on it is on view until the very last moment. These points may not seem to mean much, but it is these sorts of psychological convincers which take mental magic into the realm of psychic phenomena.
First of all you will need to make a Sideways Shaxon as explained earlier. Actually I suggest that if you perform a lot you sit down with a decent glass of Rioja and spend an hour making up a couple of dozen that way you will never be without.
Now to make the window part of the invisible hole you will once again need a scalpel, glue stick, clear sticky tape, an old playing card, a ruler a small sheet of acetate (printer acetates are perfect) and one invitation envelope. First of all we don’t simply cut the flap off our envelope as I find it makes it too flimsy, instead coat the gummed side of the whole flap with glue using the glue stick then fold the flap inside the envelope and allow it so stick to the inside.
Once the glue is completely dry insert your old playing card inside the envelope and using the scalpel and ruler cut a large window from the address side once again leaving a boarder of about 1cm all the way round, discard the cut out and old paying card. Because you glued the flap inside, you end up with a nice clean and more rigid top edge to the envelope.
Now cut a piece of acetate the same size as the envelope and slide it inside. Tape the acetate in place on the address side (this side will never be seen) and that is your window envelope completed.
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Photo No 13: The envelope with the cut out window and acetate insert taped in place. This side of the envelope is never seen by the audience.
All you need to do now is add this window envelope to a Sideways Shaxon by inserting the Shaxon flap inside the window envelope and adding the two to an ungaffed stack and you are ready to go.
The handling of the stack is exactly the same as for a standard Sideways Shaxon described in photo’s 6, 7 and 8, the difference being that when you hand the switched out envelope and its contents to your volunteer, you are left with the window envelope on the palm of your left hand with the window facing upwards and hidden by the rest of the un-gaffed envelopes.
If you now tilt the stack of envelopes towards your body and casually count them from the left hand to the right hand reversing the order as you do so, you will end up with the window envelope on top of the stack in your right hand with the window and therefore the volunteers writing or picture facing you. I normally carry out this counting action whilst casually showing the first few un-gaffed envelopes back and front as I instruct the volunteer to hold the one containing their drawing up to the light to make sure the envelope is completely opaque, their envelope can then either be burnt, torn up or retrieved later as part of the routine and depending on your performance style.
How you reveal the stolen information I leave up to you.
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BOUNS
What follows is a re-write of the Shaxonless Flap Envelope that appeared in the original Envelopolgy booklet and which was updated for publication in My Q & A. If you have already purchased My Q & A then you can skip the following manufacturing instructions and go straight to the bonus effect, if you don’t own My Q & A however and are looking for a clean real time one man method for the Q & A then I suggest you read the reviews and purchase a copy from lybrary.com
Over the years I have used this idea for dozens of effects and have note books full of routines which one day I may get around to publishing. Until then I’ll describe the manufacture of the envelopes and give you a very strong routine that has served me well over the years.
The Shaxonless Flap Enevelope
The Envelopes: Refer to photo no: 14. these are standard letter envelopes however they need to be the ones with the square flap (as opposed to the V shaped flap) and preferably, just for the sake of speed and hygiene, self-sealing. My preference are those with the removable waxy paper strip which when pulled away exposes a glued surface with which to seal the envelope, they come in a number of different sizes, choose the size that you are comfortable with . I also prefer the more expensive envelopes with the blue (or grey) security pattern on the inside. It isn’t absolutely necessary but I use the fact that the pattern is there as a reason to show the top envelope empty during the performance. I also find it helps the handling if your envelopes are as close to the same size as you index cards as possible, once again however that is absolutely necessary.
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Photo No: 14 White self-seal square flap envelopes with a blue security pattern on the inside.
Apart from the envelopes you don’t need any other equipment unless the flaps are not self-adhesive in which case you will need a glue stick but you won’t even need a pair of scissors and the gimmick literally takes 30 seconds to prepare.
Photo No: 15 Take one envelope and remove the waxy paper from the self-seal flap then tuck the flap into the envelope and allow it adhere to the inside. This leaves it glued firmly in place. If you don’t have self-adhesive envelopes you will need to coat the inside of the flap with glue first.
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Photo No: 15 Now insert duplicates of whatever you wish to switch in or out into an unprepared envelope and insert the flap of that envelope into the mouth of your prepared envelope. Basically what you should end up with is
two envelopes one on top of the other flap side up, the bottom one of which contains your duplicates and has its flap tucked into the top envelope whose flap is glued inside itself.
These two envelopes in their nested condition are treated as one. Now take 5 - 10 more of the envelopes and tuck each of their flaps inside without removing the waxy strip or gluing them in place. On top of this stack (held with the flap sides up) place your Shaxonless flap envelope(s) once again flap side up and snap an elastic band round the whole stack. I am going to describe how the Shaxonless flap envelope is used before we get into the presentation of an effect. Basically what you should have is an elastic banded stack of between 5 and 10 envelopes. Holding the stack with the flap side up, the top envelope is empty and has its flap stuck or glued inside itself. The second envelope from the top contains force cards or duplicates to be switched in our out. The flap of this envelope is tucked into the top empty envelope, below these are the rest of the envelopes all empty and all with their flaps tucked in but not stuck or glued. If you remove the elastic band (which is only used during transportation) and hold the envelopes flap side upper most and with the flaps on the right, you can fan the envelopes to the right and handle them quite freely. Now if you square the stack in your left hand then insert the first finger and thumb of your right hand into the top 27
envelope, by pulling the top envelope open with your left thumb, you can show it empty. (Photo No: 16)
Photo No: 16 The left thumb pulling the top envelope of the stack open to display the inside empty. The forefinger and thumb of the right hand hold the tucked in flap of the second envelope firmly in place.
It is psychologically important of course not to openly draw attention to the fact the envelopes are empty and that is the reason I prefer letter envelopes with the blue security lining. The reason for this will become clear in the presentation explanation. I would suggest you go ahead and make up the Shaxonless flap envelope stack and follow the handling with the stack in hand. Place between 5 and 10 index cards on the table then remove the banded stack from your pocket, table or case. Hold the stack in your left hand with the flaps up and on the right hand side. Remove and discard the elastic band and fan the envelopes to the right between both hands. Square the stack into your left hand and show the top envelope empty as already described. (Photo No: 16) Holding the stack between the fingers and thumb of the left hand, pick up the tabled cards with the right hand and slide them completely into the top envelope (Photo No: 17). The inserted flap of the second envelope down makes this easy. Once the cards are all the way in, insert the right thumb and openly pull the flap out to the right (Photo No: 18), but, and this is important, before the flap is completely free of the envelope, tilt the stack toward your body as you continue to pull the freed flap to the right which draws the second envelope containing your force/duplicate 28
cards free of the stack (Photo No: 19). Immediately drop this envelope flap side up on the table and ask your volunteer to seal it shut. What you have accomplished in these simple moves is to switch the cards on the table for your force cards which were in the second envelope down in your stack. The stolen cards are completely hidden in the top envelope which, due its flap being tucked in and stuck in place, appears the same as the remaining envelopes. The photographs should make the handling clear. Photo No: 17 Holding the envelopes in the left hand, the tabled cards are inserted into the top envelope of the stack.
Photo No: 18 Right thumb inserted and pulling the flap (of the second envelope) free to the right.
Photo No: 19 Envelopes tilted towards the body as the second envelope it pulled free of the stack by its flap. (Performers view)
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If you practice the moves described in a mirror you will see just how deceptive they are. Once the envelope with the force cards is removed there is nothing for anybody to see because the stolen cards are securely hidden in the top envelope of your stack. I have been using the Shaxonless flap envelope for many years and although I have no doubt someone will tell me I have re-invented the wheel, I have never seen it written up anywhere else Play with the idea using different sized envelopes and you will no doubt see its potential, but please, you have paid good money for this book so keep the idea to yourself. Bonus Effect: Many years ago I read an effect that appeared on page 26 of the original version of Anneman’s Practical Mental Magic. The effect was called ‘A Ghost of a Chance’ by Otis Manning and first introduced me to the OM switch box. Years later I was at a show hosted by the Leicester Magic Circle and saw a gentleman by the name of Graham North present the routine in its original form using the props as described by Otis Manning. The effect on the audience convinced me this was something I should use and over the years I have devised different methods to accomplish the same outcome. However I have never used the OM switch box it just isn’t something that fits the way I work so decided envelopes was the way to go. The following routine is used as part of my blindfold routine but it doesn’t have to be and I have used it as a standalone demonstration in the past. Otis Manning & 'A Ghost of a Chance’ Revisited Effect: During his act the performer distributes different coloured index cards and pencils throughout the audience, these cards are blue, yellow and white. He instructs all those who have blue cards to write a 4 digit number on their cards, those with yellow
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are instructed to write any physical action (such as blow your nose) and those with white are told to draw a simple picture. Once done all the cards are handed to an audience member at the front who is asked to mix them thoroughly then choose one of each colour at random without looking at what is written on them. The volunteer then seals the three chosen cards into an envelope and writes the word TARGETS on the address side and holds onto the envelope until required. The remaining cards are dropped sight unseen into a second envelope and left in the audience. At any time during his performance (in my case during the blindfold routine) the volunteer is invited to the stage with the envelope. She stands on the other side of the stage, opens the envelope and removes any one of the cards which she reads silently to herself. The performer then using some unworldly power reveals the secret information revealing the number, carrying out the action and duplicating the drawing. Method: If you understand that the Shaxonless Flap Envelope is perfect for switching small flat items such as index cards, in and out of play, then you should be one step ahead of me here. Quite simply, the cards that the volunteer removes from her envelope are force cards which were in the envelope all the time and which you switched in as you handed her the envelope to seal and write the word TARGETS on. However what really appealed to me in the Otis Manning original was the use of different coloured cards or slips of paper. The information a volunteer is reading is literally colour coded so you know what to reveal. If you add a blindfold and peak the colour of the card the person is reading, it only adds to the logical disconnect. The use of the different colours is justified by the fact you ask for three different styles of information from the audience and to ensure you get one of each you make it easier for the volunteer by asking her to choose one of each colour. This means the whole audience understands that one card will be a number, one a physical action and one a drawing.
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So here is a typical example of a performance. In different hand writing on a blue card I write a four digit number (which I remember), on the Yellow card I write a physical action (such as stand on one leg and wave) and on the white card I draw a simple house. These cards are placed with the writing facing the address side into the second envelope down of our Shaxonless Flap gaff, which is on top of the stack of envelopes. Once all the cards have been collected and three chosen, you take them writing side down from the volunteer and openly slide them into the top envelope, which you have shown empty by drawing attention to its security lining as you explain the lining ensures the envelope is completely opaque. You then remove this envelope (switching in your force cards) and hand it to her to seal. As she does this you pick up the remaining cards and slide them into the top envelope which contains the three you switched out and leave this with the audience. You are now clean. During performance the volunteer opens the envelope and removes one card which she reads to herself. It doesn’t matter which card she removes because the colour tells you which information she is looking at, this is repeated with each card. In my opinion the blindfold adds an extra layer of deception to this effect but of course it isn’t completely necessary.
*** So there you go four different envelopes, four different handlings and four different effects with nothing more than envelopes pencils and index cards. In part two, I will describe another effect for the 21st Century Beast with two backs, a test conditions routine for the Sideways Shaxon, yet another effect for the Shaxonless Flap Envelope and as a bonus I will describe a modified version of the Shaxonless Flap which takes it to the next stage. So keep your eyes open for ENVELOPOLOGY PART 2 coming soon to Lybrary.com
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Until then I leave you with this final thought from an ancient Chinese saying.
Even Jade needs to be chiselled before it can be considered a gem
In other words, practice makes perfect.
Enjoy
Scott Creasey – Andalucia 2012 33
